Elaine Hoffman-Watts: Girls Don't Play Drums

Watch the new short documentary film by Renah Wolzinger about legendary Klezmer drummer Elaine Hoffman-Watts:

Craig Taubman: Lights! Celebrate Hanukkah Live in Concert

I am re-posting this message from the Jewish Music List.

Keith Wolzinger
Klezmer Podcast

Dear Friends,

I hope you will not look at the group nature of this email and give it less importance- as I could really use your help!

Earlier this summer I was given the wonderful opportunity to produce Lights! Celebrate Hanukkah Live in Concert a Holiday special which begins airing nationally on PBS this week.

The show is fun, eclectic and features many artists you know including myself, Cantor Alberto Mizrahi, Mare Winningham, The Klezmatics, Michelle Citrin, Dave Koz, Josh Nelson and many other exciting performers.


This show needs your support to make it a commercial success. This is a first for PBS and if it is well received we hope it will not be the last.? Please take a minute and forward these links to your friends, family, faculty and email lists! ? This link http://www.craignco.com/flash/lights ?is a 30 second promo for the show and the following??www.craignco.com/lights/airdates.html
links to airdates nationally.

I thank you in advance for your consideration in helping us get the word out. With your support we can reach hundreds of thousands of people with this uplifting Hanukkah Celebration!


B'shalom!

Craig Taubman

CD Review: 2nd Avenue Square Dance

Review: 2nd Avenue Square Dance
Margot Leverett and The Klezmer Mountain Boys



Margot Leverett has found her voice with The Klezmer Mountain Boys. The group’s second album, 2nd Avenue Square Dance, offers a further exploration of her deep commitment to the fusion of Klezmer and Bluegrass. The music speaks for itself in the high-spirited offerings on this album.

Leverett and the band give marvelous performances throughout the album, and the guest artists add an extra dimension of authenticity in just the right places. Overall, the album is balanced, well-paced, and is a joy to listen to.

Leverett has a hand in arranging most of the songs, and composed three of them. Bandmate Kenneth Kosek composed two of the Bluegrass songs, which are among the highlights on the album.

Guest Electric Guitar player Jorma Kaukonen is featured on the title track, Second Avenue Square Dance, as well as on Electric Kugel, and (Acoustic Guitar) on Tumbalalaika. It’s fun to hear the Electric Guitar blended in with both the Klezmer and Bluegrass rhythms, and the more subtle work on Tumbalalaika, along with Leverett’s smooth, lyrical Clarinet make for an interesting twist on the well-known tune.

Darol Anger, of Turtle Island String Quartet fame, also appears, adding his 5-String Fiddle on two tracks. The instrument adds a wonderful quality to the group, and Anger fits in perfectly.

Vocalist Hazel Dickens is featured on the spiritual folk song Little Moses, and breathes new life into the traditional style of the song. It is a song that comes from the heartland, and speaks of the life of Moses in a way that is unique to the culture of the southeast U.S. mountain region.

Tony Trischka guests on Banjo, and Mike Marshall joins in on 10-String Mandolin. These musicians are already legendary and lend a new texture on the Klezmer-influenced songs. And the solos are a joy, too.

Speaking of solos, all of the band members are given ample space throughout the album. I’m sure it’s a conscious decision by Leverett to step out of the limelight and let the band do their thing. I enjoyed listening to all of them, and it’s really interesting to see what each does with the same melody. Even Bassist Marty Confurious gets a turn on Mississippi Waltz. He is the one that anchors the band, and does a consistently great job throughout the album.

Of the Klezmer tunes on the album, Sidney’s Tsveyte Bulgar is done in the traditional New York style of Sidney Beckerman. It is thoroughly enjoyable, and adds guest Hankus Netsky on Piano. Leverett’s Klezmer stylings here are impeccable.

Come Along Jody is my favorite on the album and shows best what the Klezmer Mountain Boys are all about. Along this same vein is the medley of Lee Highway Blues and High Lonesome Honga. These blend Klezmer and Bluegrass very well and would be worth the price of the album by themselves.

Another favorite is Geena’s Dream, which shows Leverett’s beautiful tonal quality and lyricism. It is a slow piece, and has great acoustic accompaniment, particularly from Anger on the 5-String Fiddle.

The engineering on this recording is remarkable. The Clarinet sounds perfect, considering it is one of the more difficult instruments to record properly. The strings sound equally stunning. Of course the playback suffers a bit through computer speakers and earbuds, but gives a very nice soundstage when listening on larger speakers. Kudos to engineers Lou Holtzman and Jason Richter.

The CD insert is rather minimal, a four-panel booklet with track listings and credits. There is not much more information on any of the websites, but the Traditional Crossroads site does have the lyrics for Little Moses.

Overall, this is a fabulous album, and I can easily recommend it. The band does a very credible job of being true to both of the musical traditions on the album, and then blends them in a very creative and ear-pleasing way. I’m ready to pay a visit to Klezmer Mountain.

Keith Wolzinger
Klezmer Podcast

2nd Avenue Square Dance
Margot Leverett and The Klezmer Mountain Boys
Traditional Crossroads (CD 4339)
2008


Track List:
1. Farmer's Market
2. Stoney Lonesome
3. Electric Kugel
4. nd Avenue Square Dance
5. Ternura
6. Little Moses
7. Sidney's Tsveyte Bulgar
8. Calgary Reel
9. Geena's Dream
10. Come Along Jody
11. Tumbalalaika
12. Boreasca
13. Mississippi Waltz
14. Lee Highway Blues
15. High Lonesome Honga
16. Abe's Retreat
17. Zaydn's Tants Porges Waltz

Links:
Klezmer Mountain Boys
MySpace
Traditional Crossroads

Klezmer Podcast 44- Mitch Smolkin

I have posted Klezmer Podcast 44 with Mitch Smolkin, Toronto-based Yiddish Vocalist. Click on the post title to view.

Review: STriCat- rats & gentle people

rats & gentle people
STriCat



A fresh approach to music is always a good thing, and STriCat is a shining example of what can happen when the constraints of musical expression are removed. At first blush, the band’s composition of Trumpet, Accordion, and Cymbalom would seem somewhat unlikely, but any reservations are overcome once you hear them. The result is some of the most unique music that I have heard.

The music is truly original, with each of the band members contributing original compositions. In fact, the band is listed as the Producer on the album credits. So, these guys show a level of commitment not often seen today. Composing, arranging, performing, producing. They do it all.

But what does the music sound like, you ask? They put out a lot of music for being a trio. I would describe the sound this way: relating to a jazz combo, think of the Trumpet as, well, the Trumpet; think of the Accordion as the Tenor Sax; think of the Cymbalom as the rhythm section. It’s an uncanny combination. Levelt (Trumpet) and van Tol (Accordion) to me sound like Miles Davis and John Coltrane. The parts fit exactly the way they should, and the harmonies are there, too. Vink (Cymbalom) really drives the group, and sets the style whether it be swing, Bebop, a fast Balkan Sirba, or a slow Hora.

The opening track, Driving Madness is an American-style contemporary big band tune. It has a great melody, excellent Trumpet break/solo, and even an a capella shout chorus. It serves to whet the appetite for all that follows on the album.

Lay Dee “p” is a slower solo by Trumpeter Levelt with Accordion accompaniment. It is the shortest track, but shows the introspective side of the group.

Asphalt, my favorite track, could be the title track for the album. With a strong Bebop influence, the combination of muted Trumpet with Accordion works well and shows that you can really swing on any instrument! I like the a capella coda, too.

Toni is the most Balkan styled tune. While still jazzy, it follows closely with much of the Balkan Brass music I have heard. And check out the great Accordion solo by van Tol.

Have A Seat and Hear My Degu A Comin’ are stylistically similar, with both using the short Balkan trill as part of the melody. Very interesting tunes, one fast and the other slow. I keep singing Hear My Degu to myself when no one is around. You will, too.

Dracula is an interesting contrast in styles. While the Accordion and Trumpet solos are the highlight here, this track has a most interesting melody. Take a Blakan theme and cross it with Lee Morgan’s A Sidewinder, and you have the essence of STriCat.

The two Sirbas on the album, Sir Bah and Sirba Voor Susanna are STriCat’s vision of the traditional folk song, the latter played on muted Trumpet.

The sound quality is excellent. I had good results on everything I listened on- car, computer, and home theater. The Trumpet is clearly the lead instrument, but you never lose the Cymbalom or Accordion in the mix. Great engineering by Micha de Kanter.

The CD package has no liner notes, only the track listing, personnel, and credits on the back cover. There are some great photos of the band members on the foldout. The web site has more info, including sound and video clips.

I can easily recommend Rats & Gentle People. This is truly World Music, and STriCat has hit on a fresh concept that should gain a wide following.

Keith Wolzinger
Klezmer Podcast

rats & gentle people
STriCat
Karnatic LAB records (KLR 012)
2007

Personnel:
Bokkie Vink - cimbalom,
Theo van Tol - akkordeon,
Gijs Levelt – trompet

Track Listing:
Driving Madness 6:09
Have A Seat 4:18
Lay Dee 'p' 2:49
Mohawk Territory 5:07
Sir Bah 5:50
Loose Ends 5:45
Asphalt 6:11
Toni 5:33
V 5:23
Hear My Degu A Comin' 7:02
Dracula 5:27
Sîrba Voor Susanna 3:26

Links:


STriCat
MySpace
Karnatic LAB

Review: DeLeon

Review: DeLeon
DeLeon


DeLeon is the self-titled debut album of the Sephardic Indie-rock band led by Dan Saks. The group’s progressive sound is instantly ingrained on the listener from the first note of the album. The concept of the album is fresh and distinctive, while still managing to retain the essence of the Sephardic experience. By using complex Spanish and middle-Eastern percussion and electronic rhythms along with Ladino, Hebrew, and English lyrics, DeLeon brings the Sephardic culture to the forefront of the urban Jewish music scene. By changing languages within the songs, DeLeon not only appeals to a broader audience, but also adds authenticity and respect for the culture behind the music.

I was immediately drawn to this musical genre so well defined by DeLeon. While the vocals are great, I like the way the Electric Guitar lines mix with the Keyboard electronic effects, the strong Percussion rhythms, and Spanish-infused Trumpet.
The opening song, Yodukha Rayonai, is the probably the best known on the album. It is Percussion-driven and sets the tone for the album right from the opening notes in the Electric Guitar. This is contrasted nicely with the Piano lines between the vocals.

If there were a title track for the album, I would have to say it would be La Serena. For me, this song gets to the heart of DeLeon. It has all the elements that make the group great. It again starts with strong Percussion, Ladino and English lyrics, and Guitar. Then Trumpet is added to reinforce the rhythm. Toward the end the song changes style completely. There is a harmonized vocal, and 80’s style keyboard effects with matching trumpet licks.

Later on the album, La Ner V’Livsamim very cleverly opens with a Nign of Yodukha Rayonai and adds the main theme to it. Then the lyric takes over along with Guitar and Keybord. I liked the cool echo effect on the Vocal, too.

My favorite track of all is Be Still, Angelino. It is in 6/8 time and has a Spanish modality, plus a strong hook in the chorus along with some great Trumpet and Guitar lines. The band takes over near the end, with the Guitar and Drums building right to the last note.

Almond Trees is all in English and has more of a Pop song style. Saks carries this song off very well with the tag line “For you I would give my life.” I keep singing it to myself even after the song is over.

Shifting gears, Rahelika Baila adds some cool Keyboard sounds and a remixed vocal. It has the sound effect of an old scratchy 78 record. The Ladino lyric is matched in the Guitar and nice Bass line.

The band exchanges Banjo for the Guitar on the lively La Vida Do Por El Raki. The fast tempo and signature Spanish harmony combine to make this another favorite song. I like the stop time section in the middle, too.

Sa’ Dawi is the most unusual song. It is an instrumental piece that features the Guitar. The first section feels middle- Eastern, then after a short Nign in the middle switches to a contemporary feel for the rest of the song. DeLeon is very good at style changes within the songs. It keeps the listener involved in the music by implying “If your attention wanders you’ll miss something cool.”

Ok, I have to admit to another favorite track. Porke Yorach has all the elements of a great song. It is a ballad sung in both Ladino and English, and features the beautiful voice of Amy Crawford. She and Saks deliver rich, flowing vocals, with beautiful harmony. Just the right amount of electronics in the accompaniment along with a very tasteful Trumpet solo adds to the emotion of this love song. For me, this is the centerpiece of the album.

The audio quality of the album is excellent. The attention to detail is evident, and the instruments and vocals are well balanced. The vocal effects give DeLeon its special flair, with long tail reverb and echo used in a very artistic way.

I like DeLeon very much. The combination of languages in the lyrics and changing musical textures makes this a very enjoyable album. The musicianship is at a very high level and you can tell they are having fun performing the music. I highly recommend this album. DeLeon is on to something special and I look forward to seeing what direction they will go in the future.

Keith Wolzinger
Klezmer Podcast

DeLeon
DeLeon
JDUB Records
2008


Track List:
1. Yodukha Rayonai
2. La Serena
3. Adio Querido
4. La Ner V Livsomim
5. Be Still, Angelino
6. A La Una Yo Naci
7. Almond Trees
8. Rahelika Baila
9. La Vida Do Por El Raki
10. Sa'Dawi
11. Porke Yorach
12. En El Cafe


Band Members:
Dan Saks - Vocals, Guitar, Banjo
Kevin Snider - Bass, Vocals
Justin Riddle - Drums
Amy Crawford - Keys, Vocals
Andrew Oom – Trumpet

Links:
DeLeon
Facebook
YouTube

JDub Presents Jewltide: A Hanukkah Bash- Saturday, December 20, 2008 in Los Angeles, CA

Saturday, December 20, 2008

in Los Angeles, CA

Jewltide featuring DeLeon, The Sway Machinery & Festival of Rights

@ The Troubadour

8:00 PM

Tickets:
$12

 

JDub Presents Jewltide: A Hanukkah Bash
The Troubadour - 9081 Santa Monica Blvd
Valet Parking available

 

Featuring live performances by
Deleon – 15th Century Spanish indie rock
The Sway Machinery - Cantorial afropop and blues from members of Balkan Beat Box, the Yeah Yeah Yeahs, and Antibalas
The night kicks off with PJA’s Festival of Rights multi-media menorah lighting

Plus, dredyls, gelt, latkas (until they run out), and a free JDub compilation CD with every ticket!

Made possible through the support of the Jewish Community Foundation of Los Angeles

Sponsored by Progressive Jewish Alliance

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